Dialogicity and Textuality as Features of the Cultural Space of V. Kandinsky and D. Burliuk

Shevchuk Veronika Gennadiyevna PhD in Philosophy Associate Professor, Department of Decorative Art, Crimean Engineering and Pedagogical University named after Fevzi Yakubov 295000, Russia, Republic of Crimea, Simferopol, lane. Educational, 8 verynya.58@gmail.com Other publications by this author

IntroductionNowadays, in cultural studies and art studies, increasing importance is attached to the problem of preserving the cultural heritage of Russia, including domestic art.

The appeal to the cultural space of the Silver Age and the Russian avant-garde allows us to judge the diversity of manifestations of the cultural text, the uniqueness of the dialogue between the cultural worlds of Russia and Europe, East and West. Many outstanding creative personalities — representatives of the Russian avant-garde, were engaged in the problems of synthesis and dialogue between different types of arts, realizing the unity of theory and practice. The Russian avant-garde is characterized by the awareness of collective identity, one of the sides of which is precisely the theoretical intention in the artistic space, which confirms its textual character.

The degree of knowledge of the problem. Our culturological study of the textuality of the cultural space of the representatives of the Russian avant-garde proceeds from the concept of "culture as a text" and its semiotic space, introduced by Yu. M. Lotman ^[1]. A number of domestic and foreign researchers have devoted their works to the analysis of the cultural space of the Silver Age and the Russian avant-garde. Among them — D. V. Sarabyanov ^[2], V. S. Turchin ^[3], I. V. Kondakov ^{[4; 5]}, N. A. Khrenov ^{[6; 7]}, foreign — J. Boult ^{[8; 9]}, R. Heller ^[10], M. Lucchesi ^[11], R.-K. Voshton Long ^[12], G. I. Dennis ^[13] and others.

In his research, I. V. Kondakov outlined the problem of the explosive nature and instability of the cultural synthesis of the era under study. As always, it is relevant for culturologists to refer to the scientific works of M. S. Kagan ^[14] devoted to the phenomena of synthesis of arts in the transitional era. N. A. Khrenov, continuing this line of research in a number of his scientific works, emphasizes that the twentieth century of the artistic avant-garde has become the century of theory ^[6].  Based on the comparison of the theoretical ideas of V. Kandinsky and S. Eisenstein, N. A. Khrenov in his article ^[7] characterized the theoretical intentions of the art of creative personalities as features of the transitional stage of this era. Among the verbal texts reflecting V. Kandinsky's views on the nature of art, the researcher identifies the main line — the awareness of cosmic meaning ("music of spheres") in the work of an avant-garde artist based on the synthesis of arts and cultures, and also substantiates the originality of V. Kandinsky's mentality, whose worldview accommodates the interweaving of Western and eastern cultures.

Appeal to the monograph of T. I. Erokhina's "Personality and text in the culture of Russian symbolism" ^[15] is relevant for our research in the context of theoretical statements by practitioners — creative personalities of the Russian avant-garde, presented as a "text of personality" bearing the "character of metatext".

To analyze the features of the cultural space and compare the theoretical intent of the artistic texts of V. Kandinsky and D. Burliuk, their works are of interest to us: "The text of the artist. (Steps)" ^[16], "On the Spiritual in Art" ^[17] by V. Kandinsky and "The artist David Burliuk as a historian and art critic of his life and work (For forty years. 1890-1930)" by D. Burliuk ^[18].

Familiarization with some scientific works of foreign art critics leads to the conclusion that their study of the works of V. Kandinsky and D. Burliuk is mainly descriptive and biographical in nature, and from the point of view of cultural studies, we have not identified significant works. The high level of scientific works of Russian cultural scientists allows us to rely on their research, but among them, in the context of the synthesis of theory and artistic practice, the problem of comparison and dialogue between the cultural worlds of the contemporaries of the avant—garde - V. Kandinsky and D. Burliuk was not raised.

The object of our research is the cultural heritage of the avant-garde theoretical artists V. Kandinsky and D. Burliuk, which is the embodiment of the diversity of the synthesis of visual, verbal, auditory and other texts. The subject of the study is to identify the characteristic features of the cultural worlds of the creative personalities of V. Kandinsky and D. Burliuk, such as dialogicity and textuality.

The application of a culturological approach and the method of comparing the theoretical positions of original creative personalities — V. Kandinsky and D. Burliuk — allow us to substantiate their identity, expressed in the similarity of their theoretical views on the problems of art in the process of creative practice. In addition, their cultural space accommodates the interweaving of traditions and innovative principles of domestic, Eastern and European art, which has found expression in the originality of practical manifestations of the studied artists-thinkers.

The scientific novelty is due to an attempt to culturological study of the phenomenon of the creative personality of the avant-garde era, which we consider as a metatext. For the first time, using the example of comparing the uniqueness of the cultural heritage of V. Kandinsky and D. Burliuk, consisting of many texts, the problem of identifying the multifaceted identity of artists-thinkers, expressed in the inseparable connection of their theoretical views and artistic practice, is outlined. Therefore, we are faced with the task of research — based on the analysis of the theoretical views of the artists-thinkers V. Kandinsky and D. Burliuk to identify and compare the mutual influence of their various texts: visual, verbal, auditory and others, to confirm the features of their cultural worlds: dialogic and textual, as well as synthetics.

The Cultural Space of the Silver Age of Russia in the context of the West-East Dialogue

One of the main features of the historical development of countries is the interaction and mutual influence of their cultural processes. It is proved that such a phenomenon is most clearly manifested in the "transitional" periods, one of which we have marked the period of the late XIX–early XX centuries. in the cultural space of Russia and Europe. At that time, the nature of their intercultural communications, as never before, acquires a dynamic impulse.

Such cultural "explosions" occurring in one space, according to the cultural theorist Yu.M. Lotman, can be combined with gradual development in other cultural organizations, the intersection of which determines dynamic development ^{[1, pp. 21-22]}.

Since ancient times, the problem of the uniqueness of Russian culture has worried thinkers, the characteristic features of which were formed due to the location of Russia between Europe and Asia. As a result, Russian culture stood between two poles — western and eastern. Russian Russian joined the culture of the Western world without having the experience of the Renaissance, the role of which in its history was played by the XVIII century. I.V. Kondakov, considering symbolism as a "world phenomenon", notes that Russian symbolism, "derived its origins" from the work of Russian classics of the XIX century (Tyutchev, Pushkin, Lermontov, Gogol and others), "appealed to the experience of French, Belgian, English, Scandinavian ... and German symbolism", and at the same time "appealed to the experience of Antiquity, Western European Middle Ages and Renaissance, Romanticism" ^{[4, p. 163]}.

  Representatives of Russian Romanticism (the beginning of the nineteenth century) were fond of Italian subjects. Stylized oriental themes enter the Russian world in the form of illustrations, for example, to the "Bakhchisarai Fountain" by A.S. Pushkin. In the second half of the nineteenth century, Russian art mastered the Central Asian theme, which was embodied in the work of V. Vereshchagin, who created an exotic image of the East. 

Then, at the turn of the XIX–XX centuries, there were changes in the pictorial stylistics of oriental themes, as, for example, during the work of M. Vrubel (1856-1910) on the creation of the image of a Demon in painting and graphics. The term "symphonicity", applied by I. Dolgopolov to the characterization of Vrubel's "oriental" works, emphasizes the synthetic nature of the central image: poetry–music–painting–East–West ^{[19, p. 520]}.

Russian Russian Art Nouveau period marked a new era, characterized by a synthetic combination of oriental motifs with Russian folk art, the style of Russian splint, with the subtlety and elegance of I. Bilibin. The "Russian Seasons", organized by S. Diaghilev, were decorated and costumes on oriental themes by L. Bakst and other artists who had great success in Western Europe.

At the turn of the XIX–XX centuries, thinkers and cultural figures of Europe and Russia were attracted to the culture of the East, including its religious and philosophical schools (Buddhism, Hinduism, Taoism). The influence of Japanese art on European and Russian culture was great. For example, the work of the poet-artist, art theorist M. Voloshin was formed by fascination with Western philosophical trends (anthroposophy) and the art of the East (Japanese woodcut, Utamaro, Hokusai). A contemporary of M. Voloshin, D. Burlyuk was also associated with eastern culture, promoted futurism in the Far East and Japan, created works on oriental themes. The avant-garde artist N. Goncharova claimed that her creative path is turned to the East, and the West is only a "transmitter" of eastern discoveries. There are many examples of this in the history of art.

Thus, the path to dialogue, interaction of different cultures, and the creation of a synthetic artistic picture of the world in Russia was gradually outlined.

Dynamic processes at the turn of the XIX–XX centuries, which led to abrupt changes in Russian culture, to its rapid pace, are characterized by researchers as a "fracture". The philosopher M. Bakhtin, identifying "dialogism" as a feature of the originality of the culture of Russia and Europe at the turn of the XIX–XX centuries, calls the transition period that touched all relations and manifestations of human life a universal phenomenon ^{[20, p. 55]}. In this difficult and contradictory time, thanks to the intercultural ties of various artistic groups in Europe and Russia, an artistic phenomenon called the "avant-garde" begins to form. New trends are developing rapidly in European art: Cubism, futurism, Dadaism, expressionism and others that influence Russian art, such as European Cubism, which prompted the free construction of the picture plane in artistic texts. M.S. Kagan, in the context of the mutual influence of the cultural fields of the West and Russia, expresses the idea of "dialogicity" as a general law of the existence of a culture protesting against forms of "monologue despotism" ^{[14, pp. 402-404]}.

Thus, through the awareness of the interaction of East and West, the convergence of figurative means of various types of arts, synthetics was formed — a feature of Russian culture, defined by D. Sarabyanov as a "new form" that the twentieth century gave to "traditional synthetic thinking for Russia" ^{[2, pp. 117-160]}. It was the idea of synthetics that became a symbol of the worldview of thinkers and artists of the Silver Age. N. Berdyaev, P. Florensky, V. Zenkovsky, V. Shmakov and other Russian philosophers of this era saw the meaning of creativity in its spiritual beginning, in the synthesis of religious ideas and secular culture.

In any historical epoch, the originality of its artistic space is formed by phenomena such as: the surrounding reality, nature, religion, moral and aesthetic principles, traditions and other factors, which affects the imaginative world of a creative personality. The constructive means for recreating this world are artistic universals synthesizing philosophical intentions. Defining the role of personality in the creative process, T.S. Zlotnikova highlights the thought of L.S. Vygotsky, who represents a creative personality in the form of a prism that refracts "life impressions ... and artistic traditions" ^{[21, p. 50]}.

Russian Russian At the beginning of the twentieth century, a new cultural phenomenon was called the "First Russian avant-garde" along with the "Silver Age of Russian Culture", a characteristic feature of which is the combination of artistic creativity and the solution of theoretical problems, that is, the synthesis of visual, verbal and other texts. In a single artistic space and the dialogical world of Russia and Europe, philosophers, culturologists, art historians, artists in their works turned to the concepts of culture as an artistic text. V.S. Turchin calls one of the features of the "image of the twentieth century" the "textuality" of avant-garde art, whose representatives "were drawn to pen and paper, by the way, to the text" ^{[3, pp. 21-22]}. The researcher notes that the names of the newest trends of the avant-garde were associated with texts framing "practice so abundantly" that their publication is already a "history of art" ^{[3, p. 20]}.

Professor I. V. Kondakov, the founder of the method of "architectonics of culture", notes that "the history of culture is represented as a hierarchy of meanings, permanently transforming its configuration in several dimensions." The researcher, revealing the ambiguity of "a simple linear chain of cultural paradigms", justifies the simultaneous existence of cultural phenomena of the past, present and future "in continuity with each other and in competition with each other", therefore, the history of culture is a "nonlinear, multidimensional, stepwise process" ^{[5, pp. 10-11]}. So, the Silver Age is presented as a multi-layered cultural text that includes the simultaneous transformation of three levels of its content. Let us agree with Professor O.N. Astafieva's idea about the nonlinearity of the "deployment of culture in time and space", linking the past with the future, which contributes to the "self-renewal and self-preservation of culture" ^[22]. This situation applies to the situation of the "explosion" of the transition period of the turn of the XIX–XX centuries. in the culture of the Silver Age.  

To analyze the peculiarities of the cultural space of Russia, let us turn to the creative personalities of V. Kandinsky and D. Burliuk — cultural figures of the Silver Age and the Russian avant-garde, which reflected the presence of Western and Eastern cultures that influenced the direction of theoretical views and creative searches for personalities. 

Dialogue of cultures and synthesis of verbal, auditory and visual texts in the picture of the world by Vasily KandinskyFor our research in the context of the peculiarity of the dialogue between visual and verbal texts, the creative heritage of the outstanding artist V. Kandinsky (1866-1944) is of interest, including theoretical studies on the artistic problems of Russian and European cultures of the late XIX–early XX centuries.

Not only the views of European symbolism, but also the ideas of Russian symbolists influenced the picture of the world of the theoretical artist. V. Kandinsky was engaged in scientific activity, published his articles in the magazines "World of Art", "Golden Fleece", "Apollo", was the creator of the German magazine "Blue Rider".

The idea of unity and conciliarity as the basis of spiritual dominance was one of the leading ideas among representatives of Russian religious philosophy, which interested V. Kandinsky. He developed and deepened the position of the internal connection and interpenetration of various arts, revealed the significance of their synthetic nature. The theoretical artist managed to embody in his small work "Sounds" a synthesis of poetic, musical and pictorial principles, then he writes with composer A. Sakharov the libretto of a ballet on the same theme.

The diversity of V. Kandinsky's worldview, consisting of the unity of artistic and verbal texts, is surprising. The thinker in his own way perceived and reworked the ideas of Russian and German symbolists, the theory of German idealism, some principles of theosophy, the anthroposophical concept of Steiner.  While in Germany and Sweden, Kandinsky noted the interest of the local intelligentsia to Russian culture, their "faith in Russia". At that time, the artist wrote that borders were being erased between peoples, thanks to the mutual influence of European and domestic arts.

In the context of the textual nature of artistic creativity, let us pay attention to the fact that V. Kandinsky was one of the first avant-gardists to introduce the term "text" (1916), calling his work "The Artist's Text" (published a couple of years later in 1918), in which he describes the formation of his color picture of the world, starting from the colorful impressions received in childhood, and ending with the creation of his concept of abstraction with musical intonation.

V. Kandinsky recalls that in his youth the most important impressions were his visits to the French Impressionist exhibition in Moscow and the staging of Wagner's Lohengrin at the Bolshoi Opera, and this left an imprint on his whole life. It is possible that these "two events" marked the beginning of the synthetic perception of reality by the artist, that is, the realization of the inseparable connection between painting and music: "painting is able to show the same forces as music" ^{[16, p.18]}. Listening to Wagner's music, according to V. Kandinsky, violins, "deep basses", "spiritual the instruments"embodied in his perception "all the power of the afternoon hour," and colors appeared in his mind and lines were "drawn" before his eyes:  "Wagner musically wrote "my hour"" ^{[16, p.18]}. In the work of the Impressionists, V. Kandinsky was concerned not with the problem of light and air, but with the question of the effect of paint.

The theoretical artist calls "time" another important "element" of painting (V. Kandinsky's italics). Arguing that painting should attract the viewer with its deeply hidden content, V. Kandinsky expresses the idea of the duration and concealment of time in the visual space. Admiring Rembrandt's paintings, he noted the separation of light and dark in them and compared them with the "two-tone" of the "Wagnerian Trumpet" ^{[16, p.22]}. The artist was struck by Rembrandt's property in painting — the duration and concealment of elements, where the viewer sees one part, then moves on to another. It is such features as "hidden" and "hidden" that will be the main ones in the artistic practice of V. Kandinsky.

Justifying the main meaning of the question of art "on the basis of internal necessity", where well—known theoretical laws and boundaries are turned upside down, V. Kandinsky asserts that "the "spirit of the times" in formal matters is created precisely and exclusively by ... full-sounding artists - personalities." According to the artist-theorist, they have the ability to subdue not only contemporaries with "external talent (without internal content)", but also generations by persuasion ^{[16, pp. 35-36]}.

In the context of the modern theory of the "explosion" in the transitional era of the avant-garde, we are interested in V. Kandinsky's reasoning about the nature of art, who believes that its development "does not consist of new discoveries that erase old truths", but "consists of sudden flashes, like lightning, of explosions like a "bouquet" of fireworks ..." (our italics are V. G. Shevchuk) ^{[16, p. 47]}. At the same time, as the artist-thinker notes, these "flashes" in the form of new perspectives and truths are the organic development and growth of former truths that are not destroyed and continue their creative life. V. Kandinsky asserts that non-objective painting is not a deletion of "all former art", in the modern forms of which he sees the "internally logical", "externally organic" growth of art ^{[16, p. 49]}.

In the verbal text "Steps", which is an example of the synthesis of auditory and visual aspects, V. Kandinsky compares the process of creating a work of art with a cosmic phenomenon: "Painting is a thundering collision of different worlds, designed through struggle <...> to create a new world, which is called a work. Each piece arises and technically the way the cosmos arose — it passes through catastrophes, like the chaotic roar of an orchestra, which eventually results in a symphony whose name is the music of the spheres" ^{[17, pp. 314-315]}. Let us recall the implementation by V. Kandinsky of the concept of "total theater", where the parallel consonance of visual, verbal and auditory texts was embodied in the staging of Mussorgsky's "Pictures from the Exhibition" at the Bauhaus (Munich), which reveals the synthetics of the artist-thinker's picture of the world.

The first edition of a significant work — a verbal text by V. Kandinsky "On the Spiritual in Art" was published in German ("?ber das Geistige in der Kunst") in 1911, but with the date "1912" ^[23]. In 1914, in London, this work was translated from German, then in 1924 it was published in Tokyo in Japanese. The theoretical artist himself explains that in this work he pursued the main goal – the awakening of "the ability to perceive spiritual essence in material and abstract things" ^{[16, p. 52]}.

V. Kandinsky, in his concept of art, created on the basis of numerous artistic experiments, divides two types of art: one — art that repeats what "fills the modern atmosphere" is "castrated art", it is short—lived and has no future; the other — a different fate is reserved for art that has roots in its spiritual an epoch and having an internal character, and, therefore, there are rudiments of the future in it ^{[17, p. 175; p. 106]}.

The thinker addressed the problem of dialogue between the artist and the viewer, who must be ready for the ability to perceive subtle, spiritual vibrations emanating from a work filled with inner content. The viewer should not turn his back on the artist striving for the highest goals — spirituality, since understanding the meaning as a narrative content is not the achievement of the viewer from the artist's point of view, you also need to be able to hear and see the inner sound, which, according to V. Kandinsky, "is the life of paint" ^{[17, pp. 174-175]}.

The theoretical artist puts forward the theory of the principle of inner necessity, in which he describes the spiritual impact of colorful form on the viewer. The thinker justifies the interaction of paint with shape (yellow triangle, blue circle, green square, etc.), their sound ("yellow sounds like a sharp trumpet"), compares colorful and musical tones, for example:  light blue is likened to the sound of a flute, dark blue to a cello, the sound of blue to the sound of a deep organ.   V. Kandinsky calls all these colorful forms differently acting beings, whose "spiritual fragrance" is differentiated in various forms (square, circle and others) ^{[17, p. 125; p. 141; p. 142]}. We can present the philosophical treatise "On the Spiritual in Art" as a syncretic text (Jacobson), and the colorful forms described by the author as iconographic signs of the pictorial text.

In another verbally iconic text, "A Point and a Line on a Plane," the theoretical artist formulates a "universal law of world composition" calling for "the highest synthetic order: external + internal," where a classification of various types of lines and their comparisons with sound characteristics, poetic dimensions, numbers and rhythmic series, and so on is compiled. ^{[24, p. 161]}.

Based on the analysis of the creative heritage of V. Kandinsky as a versatile personality, we come to the conclusion that one of the main directions of his theoretical and practical research is the problem of synthesis of arts as the embodiment of the originality of the artistic text, as well as the synthetics that characterizes the personality or creativity of the artist. As we know, the phenomenon of art synthesis is based on the phenomenon of synesthesia – the psychological correlation of color, sound, word, form, tactile, gustatory and even olfactory sensations. Let us recall the quote of Charles Baudelaire, who discovered the "law of universal analogy" in the nineteenth century: "All colors, smells and sounds at the same time" ^{[25, p. 5]}. Psychologists have introduced the term "synesthetic", that is, it is a person who has the ability to simultaneously feel the variety of manifestations of the surrounding world (color, sound, smell, etc.) based on synesthesia. Aristotle also addressed this problem. V. Kandinsky was also such a synesthetic. He called the painting the synthetic unity of all parts.

We will give examples of the synthesis of auditory, verbal and iconic texts that make up the unity of the syncretic text in the description of those impressions that were reflected in the artist's paintings of 1916, such as: "Moscow I (Red Square)" and "Moscow II (Cannon)". V. Kandinsky called "Outer and inner Moscow" the starting point of his search as a "pictorial tuning fork", where the artist attempted to depict the combination of light, color and sound ^{[17, p. 330]}. The literary talent of V. Kandinsky, who managed to convey the multicolour by verbal means ("chorus of colors") and express the polyphony of Moscow, is affected: the sunlight "becomes reddish from tension, redder and redder, first a cold red tone, and then warmer. The sun melts the whole of Moscow into one piece, sounding like a tuba, shaking the whole soul with a strong hand...". The artist compares Moscow as a "red unity" and a "symphony chord" with a huge orchestra, and at the same time introduces other colors with a visual brush: "pink, purple, white, blue, blue, pistachio, flame-colored houses, churches...". Further, the author gives sounding properties to the color and elements of the composition, for example: "singing snow", "allegretto of bare branches and twigs", as well as "silence" to the ring of the Kremlin wall. Above it as "hallelujah" — "a white, long, slender and serious feature of Ivan the Great", whose elongated neck is crowned by the "golden head of the dome" - like the Sun of Moscow among the stars — "gold, silver and motley" ^{[17, pp. 295-297]}.

P. Florensky's thoughts on the synthetic nature of artistic thinking are similar to the positions of V. Kandinsky, but this is another topic of research. The analysis of their cultural dialogue was carried out by Professor D.S. Berestovskaya ^{[26, pp. 59-70]}.

So, we can substantiate that the artistic and theoretical heritage of V. Kandinsky is like a hypertext in which the iconic components - color, word, sound, image, as well as the phenomena of synesthesia are united in syncretic unity. The main feature characterizing the worldview of V. Kandinsky is the unity of artistic achievements and theoretical attitudes, reworked on the basis of the traditions of Russian and European arts and associated with philosophical and art criticism thought.   The study of the cultural heritage of the artist-thinker is relevant not only for the theory of abstract art of the Russian and Western cultures of the twentieth century, but also modern art of our time.

David Burliuk's creative space as the embodiment of the synthesis of theory and practiceThe analysis of the artistic and verbal heritage of the artist, poet, writer D. Burliuk (1882-1967), one of the founders of Russian futurism, allows us to judge the reflection of the mutual influences of the cultural worlds of the West and the East in his work.

While studying in Odessa and Kazan (East), he became interested in the principles of impressionism. Then in 1912 he traveled to European countries (Germany, France, Italy, Switzerland), where Western influence on the artist's worldview strengthened. D. Burliuk got acquainted with new avant-garde trends: French Cubism and Italian futurism. Subsequently, the artist made a futuristic tour of Kazan, the Far East and Japan. This was the period of his life and creative path, where East and West "converged". Then D. Burliuk and his family moved to America, where he lived until the end of his life.

The work of the outstanding personality David Burliuk embodied the avant-garde ideas and artistic pursuits of the Silver Age of Russian Culture. D. Sarabyanov notes in the avant-garde era the desire of a creative personality to reveal his talent and substantiate his own concept of art ^[27].  This statement of the cultural theorist confirms the synthetic phenomenon of D. Burliuk's cultural space, which includes a variety of topics that reflect the distinctive features of Western and eastern cultures, traditions and innovation, the synthesis of poetry and painting, the relationship of theory and artistic practice.

From the numerous theoretical heritage, D. Burliuk's own analysis of his artistic creativity is of interest in the article "The artist David Burliuk as a historian and art critic of his life and work (For forty years. 1890-1930)" as an example of the interpenetration of verbal and visual texts ^[18].

D. Burliuk, criticizing his work — a pictorial text, noted that in his early works he turned to historical subjects, where he depicted "human suffering and the life of the masses" on large canvases, as, for example, in the work "The Revived Middle Ages" (1915, location unknown) ^{[18, p. 99]}. According to the author's description, this symbolic text depicts a battlefield, on which there is a woman holding a lotus in her hands on the right, and three catacombs underground; in one — a child, in the other — L. Tolstoy with a candle, in the third — snakes.  D. Burliuk characterizes the image of a woman as a symbol of destroyed human flesh, mangled and cut.

The artist-critic characterizes his works written in Russia as symbolic, in which he reflected protests against the "blasphemous carnage of the World War" (Tatare, 1916) and "the savagery and senselessness of the militarists' capital..." ^{[18, pp. 100-101]}. Among dozens of works created during his stay in the east of Russia in the Bashkir steppes and Japan (1918-1922), D. Burliuk calls "A strange unstable god of war", "People of the Stone Age", in which he reflected the condemnation of the atrocities of war. Traveling to Siberian and Japanese cities, the theoretical artist gave lectures on futurism, published a lot and held numerous exhibitions.

D. Burliuk's artistic texts are distinguished by their versatility in subject matter, the interpretation of the meanings of which can be interpreted from different points of view. It is known that D. Burliuk, during the debates, opposed the misunderstanding of new ways in art, polemicized with cultural figures, including I. Grabar, a master in the aesthetics of painting, who did not perceive the principles of the avant—garde.

Participation in the formation of the literary and artistic group of futurists - "butedlyan", organization of the evenings "Affirmation of Russian Futurism" together with V. Mayakovsky, V. Khlebnikov and V. Kamensky, poetic activity, as well as the publication of numerous verbal texts, including various poetic and graphic texts (illustrated himself) for example: "The Judges' Cage", the manifesto "Slap in the Face to public Taste", "Dead Moon" (1913), "The First Journal of Russian Futurists", "Roaring Parnassus" (1914) and others, it is impossible to list everything — all these actions confirm the active organizational activity of the versatile creative personality of D. Burliuk.

Also, the circle of identifying the characteristic features of a creative personality as a meta-text includes the concept of "behavioral text", the activity and creativity of which is inherent in avant-gardists.  An example of this is the participation of D. Burliuk, co-organizer of the Jack of Diamonds Art Society, in creating a situation of a "picturesque farce", a "theatrical quarrel" (Pospelov), where he was a symbolic figure during discussions in an outrageous playful form ^[28]. Poet-artist and critic M. Voloshin has repeatedly polemicized with him during debates. At one of them, D. Burliuk read a report "On Cubism and other new trends in painting", forming his own understanding of new Western trends: Cubism and futurism, the combination of which was embodied in Russian cubo-futurism, where there was a merger with domestic primitivism. It should be noted that in the 1900s and 1910s, at the beginning of its formation, the Russian avant-garde in painting and graphics focused on the vernacular aesthetics. Many professional artists — P. Konchalovsky, M. Larionov, N. Goncharova, K. Malevich and others — were fond of neo-primitivism and some of them remained faithful to its principles, like David Burliuk, until the end of their creative life. Also, V. Kandinsky at the beginning of his creative career started from folk pictures, applying a naive manner under the influence of the iconography of Russian medieval painting (icon images) and fairy-tale motifs. At that time, D. Burliuk stood at the origins of domestic futurism, embodying in his artistic space national roots associated with the perception of domestic nature and folklore. Referring to the national folk culture, the artist creates a collective image of a Cossack warrior in the traditions of folk splint in the spirit of primitivism ("Cossack Mamai").

D. Burliuk's thoughts on artistic form, color, rhythm, dynamics of movement, as well as on the problem of synthesis of arts, testify to the originality of the artistic text and iconic images in the work of the theoretical artist. To substantiate his concept of the specifics of the artistic space, D. Burliuk names the main organic elements that make up a pictorial text — these are "line, paint, light and shadows, planar construction (perspective) and texture ..." ^{[18, p.103]}. These arguments are similar to the statements of the problems of artistic space in the verbal texts of V. Kandinsky, a contemporary of D. Burliuk. Both theoretical artists, who have adopted some of the principles of the symbolists, highlight color and shape as the most important of the pictorial elements, that is, in our understanding, the characteristic signs of the pictorial text.

The comparison of the theoretical texts of the contemporaries of D. Burliuk and V. Kandinsky, who were familiar with each other, seems relevant for our study. After V. Kandinsky's arrival in Odessa (1910), as D. Burliuk recalls, he himself became his colleague and preacher of "new art in Germany", which confirms the dialogue between the artistic worlds of these theoretical artists. In the German collection for expressionists "The Blue Horseman" ("Der Blaue Reiter", 1912, Munich) under the editorship of V. Kandinsky, D. Burliuk's article "Wild" was published Russia". And at the same time, in the collection "A Slap in the Face to Public Taste", David Burliuk published four poems by Vasily Kandinsky from his synthetic book "Sounds".  It is known that there was a correspondence between them when D. Burliuk had already been living in America for the last years. About his strong friendship with Vasily Kandinsky described David in one of the issues of the magazine "Color and Rhythm" ("Color and Rhyme", 1960), published by D. and M. Burliuki in America.

D. Burliuk, comparing art with music, believes that his process is not a copy of nature, but the identification of "soul (microcosm) and life (macrocosm)", as well as the creation of similar "new similar forms" "where the creative imagination of the viewer ... is able to pour the synthesis of two principles — form and content" ^{[18, p.103]}. D. Burliuk defines music as "color time", brings literature closer "to the nature of music", which is "based on the forms of sound and semantic languages, with the aim of fixing the life realized in the thought process", the language, the theoretical artist argues, "is based on the same elements of the spirit of music" ^{[18, p.104]}. Just like Vasily Kandinsky, David Burliuk substantiates the synthetic nature of art, which incorporates various characteristics of other arts, for example: musical poetry, pictorial prose. A more detailed analysis of the problem of synthesis of arts in the works of David Burliuk is carried out in our article "Synthesis of arts as a distinctive feature of D. Burliuk's work of the early twentieth century" ^[29].

David Burliuk attached great importance to the problem of time and rhythm in an iconic image. He claimed that in his futuristic space, the main task is to transmit motion, where the audience will not find peace in his paintings (from 1908 to 1930). For example, textomorphic methods of transmitting dynamics, according to D. Burliuk, such as: "decay, decomposition of the form of visible objects" are found in his painting "Switch" (1921-1922). The process of his dynamic handwriting, where the principle of the influence of light on form as the fundamental theory of Impressionism is revealed, is described by the artist-critic in his work "The Blue Horseman" (1908): "Paint flowed across the canvas like light flows, washing away and removing the contours and shapes of objects" ^{[18, p.10]}. The painting "The Traveler of the Russian Railways" (1915), previously called "Time", is very interesting, where D. Burliuk sought to convey the dynamics of time through stylization. He depicted a woman's head in the center of the picturesque space, and around it around the perimeter — the movement of inverted houses, rails, figures of people and other elements of the composition. The artist also introduced the game of abstract colored planes — such various techniques are characteristic of the "synthetic landscape". Art historian V.V. Polyakov notes that "the artist managed to anticipate the appearance of photomontage techniques in easel art for almost a whole decade" ^{[30, p. 107]}.

For D. Burliuk, as well as V. Kandinsky, the communicative act of the work and the possibility of communication with the "consumer" of art is important in the context of the problem of aesthetic formation of people as viewers. D. Burliuk expressed the opinion about the terrible thoughtlessness through educational tasks to reduce the art of painting to a simple understanding. In connection with this statement , let us recall the work of W. Eco "Open work" ^[31], where the author confirms that the work of art (i.e. visual text) should not be an illustration of the described reality. The researcher assumes that the openness of a work of art is determined by the infinity of interpretations on the part of the viewer. In other words, the reproduction of reality by the artist in a certain structure, realized in the act of communication of the work with the viewer, whose competence should have an intertextual character (knowledge of texts and the world). The thought of Yu.M. Lotman is more relevant than ever, arguing that art is "inexhaustible in semantic terms" and should have the ability "to increment new meanings" ^{[32, p. 271]}.

It should be noted that D. Burliuk, dealing with the problem of synthesis of form and content in a work in which similar "pure forms" coexist, is close to asserting the idea of forming a new text as a result of these manifestations. Such a synthetic text, where the viewer's thoughts and imagination are given space, can be defined as a continuum of artistic texts.

Russian Russian artist A. Arustamova, exploring the verbal creativity of D. Burliuk in the magazine "Color and Rhyme", notes that "in the American cultural space" he is represented not only as a representative of Russian art and the "father of Russian futurism", but also as a European artist "along the line of inheritance of avant-garde, advanced trends of French or German art" ^{[33, p. 214]}.

So, it can be noted that the phenomenon of the Russian avant-garde is the result of its dual orientation towards the culture of the West and the East, but at the same time managed to preserve its original character. In the era of the avant-garde, characterized by a variety of intercultural communications, of particular importance is the "self-worth of communication of creative personalities striving for rapprochement in the cultural and textual space, where their common interests intersect, including the problems of the synthesis of arts" ^[34].

Conclusions. We come to the conclusion that the theoretical positions of the artists-thinkers V. Kandinsky and D. Burliuk about the mutual influence of various types of art, about synthetics (the "spirit of music" in painting), about the picturesque texture similar to sculpture, about the relationship of the nature of art and human thinking and other postulates that make up the overall picture of the artistic-figurative system, They confirm the theory of Yu.M. Lotman about the textual morphism of culture. Russian Russian symbolism is represented by "verbal (texts of works of art, theoretical texts...) and nonverbal (texts of behavior ...) texts", as a result of which the personality of the symbolist, let's add, and the Russian avant-garde, is represented as a "metatext" ^{[15, p. 270]}. We can state that the creative personalities V. Kandinsky and D. Burlyuk, who contain a variety of texts in their cultural world, can be represented as meta-texts.

The peculiarities of the cultural space of the outstanding artists V. Kandinsky and D. Burliuk, such as dialogic and textual, synthesis of creative principles and theoretical positions, as well as mobility and participation in the formation of modernism, determined the uniqueness of the artistic space of the Russian avant—garde of the first third of the twentieth century, a characteristic feature of which is intertextuality. This problem about the textual nature of the Russian avant-garde is not specific and suggests further research.